"This disc, drawn from Radio 3’s Voices series, and planned by presenter and inspirational accompanist, pianist Iain Burnside, presents an enthralling programme which traces the composer’s song output from 1979 to 2003. Of the 3 singers, mezzo soprano Susan Bickley provides the most interesting performances, sensitively capturing the essence of the quirky folksong influences in Songs from the Exotic, (a group of four inspired by the traditions of Serbia, Spain and Scotland) and the enlightened, high-flown avian opinions described in The Voice of Desire (conversations in the St Francis manner between bird and human) Her performance of the incredibly demanding King Haraldâs Saga, a three act, 14 minute, operatic tour de force for unaccompanied soprano, is nothing short of miraculous. Soprano Ailish Tynan sounds a shade uneasy with the 16th century Romances of A Spanish Liederbooklet, seeming never to quite relax with Weir’s melodic but searching vocal lines, while tenor Andrew Kennedy makes light and very engaging work of the rather dark and murky tales of Weir’s Scotch Minstrelsy and the wonderfully tongue-in-cheek eponymous On Buying a Horse (If his markings are not up to scratch "Take off his hide and feed him to the crows!") Throughout this imaginative recital Iain Burnside’s perceptive, lieder-like accompaniments, constantly enhance the total experience. A superb anthology."
The Sunday Herald - 11 February 2007
Performance **** - Sound ***
"Judith Weir always seems to stand, in that lovely phrase of EM Forster about the poet Cavafy, ’at a slight angle to the universe’. And that applies conspicuously to her songs, in which vocal lines seemingly derived from the folk ballads of the world and familiar-sounding piano figures never quite cohere into the phrases and cadences and climaxes that they imply. But this matches the elusive fables to which she’s drawn for many of her texts: not for nothing does Iain Burnside in an engaging note call her ’a magic realist’. Of the three singers on this disc from Radio 3’s ’Voices’ series, Susan Bickley brings off equally well the diverse folklore of Songs from the Exotic, the cycle The Voice of Desire with its various prescient birds, and the remarkable unaccompanied King Harald’s Saga, a three-act opera with a cast of thousands. Andrew Kennedy’s light tenor sails pleasingly through the dark deeds of Scotch Minstrelsy, but Ailish Tynan doesn’t quite catch the Iberian inflections implicit in the vocal lines of the delightfully named) Spanish Liederbooklet. Iain Burnside’s piano playing is always supportive and characterful. The recording occasionally affords the piano more presence than the voice, but it’s generally clear."
BBC Music Magazine - February 2007
Classical CD of the Week
"Judith Weir may have made her mark with her operas, but her songs, too, tell dramatic tales of their own. Indeed, in King Harald’s Saga - her three act, 10-minute opera for unaccompanied soprano - the two media combine. This absorbing collection places that early work among more recent songs, from her settings of Border ballads in Scotch Minstrelsy (1982) ti the avian cycle The Voice of Desire (2003).
Weir’s language may be unadventurous in terms of the grand scheme of contemporary music, but it never takes the obvious route, which means that every phrase catches the ear, while her approach to setting poetry is surely some of the most imaginative since Britten.
This disc, one of a continuing series produced in connection with BBC radio 3’s Voices programme, is a treat from beginning to end, with Susan Bickley, Andrew Kennedy and Ailish Tynan each bringing out both the depths and the quirkiness of Weir’s chosen texts and the range of her eminently singable vocal lines. The projects progenitor, Iain Burnside, brings the Lieder-partner touch to Weir’s inventive keyboard writing."
The Daily Telegraph - 27 January 2007
"Word-setting is so fundamental to Weir’s approach that this disc of songs and song cycles - produced by Radio 3’s Voices - is an epitome of her oeuvre. She writes with an economy and a sensitivity that deserve comparison to Britten’s, and Schubert is often in the background. In the piano pare of the wonderful Scotch Minstrelsy (excellently sung by Kennedy), he is in the foreground, too; and Weir has reset the Rellstab text of his famous Ständchen affectingly. The Voice of Desire, Songs from the Exotic and A Spanish Liederbooklet are fine achievements, and the solo "opera" King Harald’s Saga (Bickley) is unique." ****
The Sunday Times - 31 December 2006
"Scottish composer Judith Weir suggests it’s ’songs that make the musical world go round’ and asks why new music composers don’t often write them these days. Weir has always taken an interest - King Harald’s Saga, a mini opera in which one singer takes all the roles was one of her formative successes, while cycles like Scotch Minstrelsy and The Voice of Desire show her keeping faith. As always Weir’s ingenious technique and imagination is impressive, but her self-conscious stylisation and slightly prim sense of humour can be an acquired taste. The performances are sympathetic to their core though." ***
Classic FM Magazine - January 2007
"This release is another fruit of what appears to be an occasional ongoing collaborations between Signum Classics and BBC Radio 3, which has already seen recitals by John Mark Ainsley and Sarach Connolly. In the present case, we are offered 23 tracks and over an hour of music, and I for one, who tend to think of Judith Weir as a frugal rather than prodigal composer, was surprised to discover how much she has written in this medium. (And the present release does not include, for instance, her major orchestral song-cycle for Jessye Norman, woman.life.song, long overdue for a recording.)
Much less of a surprise was to discover how splendidly inventive, witty, even charming Weir can be when writing for just voice and piano (piano parts definitely not excluded!). In fact, you could almost say the more exotic the poem or text, the more her musical imagination seems to be triggered into life. Scottish folk poetry, particularly as explored in the five songs of Scotch Minstrelsy (1982), written originally for Neil Mackie, taps into her own ancestry and perhaps does not qualify as exotic, though it is certainly the case that her neatly elliptical settings point up the sometimes eerie side of the poems, as does the tenor Andrew Kennedy in his immaculately articulate performance. Susan Bickley’s nicely dark-hued mezzo gets the lioness’s share with Songs from the Exotic, and The Voice of Desire, four songs on avian subjects originally written for Alice Coote, again with a slightly quirky underside. Then, entirely on her own, she gets to sing, or rather perform, Weir’s miniature classic, her opera for solo voice King Harald’s Saga, a piece whose praises I sang in these columns when reviewing another recent excellent version, by the American soprano Judith Kellock. Suffice it to say the Bickley offers a softer, perhaps more lyrical version, dramatically and vocally, than Kellock’s and the pioneering version by the works dedicatee, Jane Manning.
The Irish soprano Ailish Tynan has a smaller share of the disc: accompanied by Iain Burnside she gets to sing three high-lying songs in Castilian, deceptively but disarmingly and with a nice nod to Hugo Wolf, labelled A Spanish Liederbooklet. She also gets to join Bickley in one number: Ox Mountain was Covered by Trees, originally in 1990 a trio with orchestra but here transformed into a female duet, is the longest item here, a poignant realization of a sad prose text by Confucius: the voices, with Burnside who is his usual immaculate and sympathetic self at the keyboard, combine to exquisite effect in this moving meditation on the wanton destruction perpetrated by man on nature. There are full texts, and translations where required, spot-on notes in English from both composer and pianist, and artist biographies; the recording quality is excellent. The booklet is unhelpfully silent on who sings what, but this review should assist. Recommended not just to Weir enthusiasts but to a much wider listenership."
International Record Review - December 2006
"From the brilliant, typically quirky King Harald’s Saga of 1979, in which the soprano has to assume a variety of roles including singing a duet with herself and standing in for a whole chorus, to the four songs that make up the 2003 cycle The Voice of Desire, in which poems by Keats, Hardy and Bridges are set alongside a Yoruba huntsmen’s song, Judith Weir’s music for voice and piano makes a diverting sequence.
Nothing is ever quite what it seems in these apparently guileless settings, and Weir’s characteristically skewed and spare narratives, to which the accompaniments often add a gently subversive edge, tweak the ambiguities further.
Weir’s fascination with folk song, whether from her native Scotland or from much further afield, surfaces regularly, as does her love of Oriental texts. The exquisite Ox Mountain Was Covered by Trees, written in 1991 to mark the demise of Kent Opera, is a Confucian meditation from the 5th century BC on the folly of deforestation; all Weir’s art as a song writer is encapsulated in its five-minute span. Along with pianist Iain Burnside, the performances by mezzo Susan Bickley, soprano Ailish Tynan and tenor Andrew Kennedy match the jewel-like clarity of the songs." ****
The Guardian - 1 December 2006
"Proof that here is one composer who can bring out the best in performers"
"The spin-off from the long-running BBC Radio 3 series Voices has a lot going for it, and it would be marvellous if more of the less-than-mainstream repertory that the channel promotes were to find its way onto CD so speedily - especially when the composer who features is one who, like Judith Weir, brings out the very best in musical performers. The survey of Weir’s vocal music is dominated by Susan Bickley’s perfectly judged performances of five pieces, ranging from a deliciously forthright King Harald’s Saga (1979) to the sonorous cycle written for Alice Coote, The Voice of Desire (2003). Here, as in the tricky Songs from the Exotic (1987), Ian Burnside is an ideally responsive partner. As for the Saga: even if you have the fine Albany version (8/06), you need this one too, I don’t warm to every instance of folklike tunes set against rather repetitive and at times downright deconstructive accompanimental patterns, and Andrew Kennedy doesn’t seem completely at ease with the Caledonian accent required for Scotch Minstrelsy. Nor was it a good idea to (re)set the text of Schubert’s Ständchen to the kind of tune one of his German predecessors like Reichardt or Zumsteeg might have dreamed up, then bringing out in the accompaniment those birdsong effects which Schubert himself shunned. But these are minor quibbles, and the attractions of the disc are reinforced as Ailish Tynan brings vivid character and great vocal sophistication to the operatic aspirations of A Spanish Liederbooklet. Incidentally, you’ll look in vain for an indication of who, exactly, sings what."
Gramophone - January 2007
No User Reviews Found.